Republished by kind permission from the FringeArts blog. “A Billion Nights on Earth is at the same time an adult work for kids and a kids work for adults—or in…
Opera Innovator: An Interview with David Devan ahead of the O17 Festival Opera Philadelphia’s innovative general director previews the upcoming O17 Festival. 
No Words for Arielle Pina’s NO INTRODUCTION or A White Viewer’s Guide to Reacting to No INTRODUCTION Arielle Pina doesn’t have words for it. She can talk about colorism , but there’s not a way to neatly explain how it has affected her. 
A Woman Who Dares: Interview with KC MacMillan KC MacMillan talks about making the transition from freelance artist to administrative director, what she envisions for the next phase of her career, and what advice she has for young women who aspire... 
PlayPenn, Theater, and “A comfortable place for misfits”: Interview with founder Paul Meshejian, Part 1 It’s unfashionable to suggest there’s such a thing as human nature, but we are “Homo narrans”—Man, the story teller. The theater will always be with us—as a sacred space. 
We Are All Chelsea Manning: Inis Nua actors on what THE RADICALISATION OF BRADLEY MANNING means to them We asked the actors in this challenging production: Who is Bradley Manning to you? 
KISS ME, KATE should bring comedy, heart, big production numbers, and a classic big finale. But Renaissance Music Theatre’s production is a few weeks of rehearsal away from capturing the magic of Cole Porter’s smash hit. The musical revolves around a theater company about to put up a production of The Taming of the Shrew in Baltimore, Maryland.
